• AA Bronson

    Artist, curator, healer, and writer AA Bronson is the executive director of New York’s Printed Matter and the NY Art Book Fair. This year, the third annual fair, at Phillips de Pury, runs October 24–26, coinciding with the ARLIS/NY Contemporary Artists’ Books Conference, which takes place October 23–26. Here Bronson talks about artists’ books and the purview of the fair and conference.

    BECAUSE THE NY ART BOOK FAIR is a nonprofit fair, our idea from the beginning was to be as inclusive as possible: We wanted to include everything from Taschen to the independent, poverty-stricken artist. We gave

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  • Adel Abdessemed

    For nearly a decade, the Algerian artist Adel Abdessemed has produced provocative artworks in numerous media, many of which take the form of actions on the street outside his home in Paris’s seventeenth arrondissement. “Situation and Practice,” an exhibition of new and recent work, opens on October 11 at the MIT List Visual Arts Center in Cambridge, Massachusetts.

    ONE OF THE NEW WORKS for this exhibition involves David Moss, the Berlin-based singer with whom I worked on my earlier video Trust Me [2006]. For the new piece, called Hot Blood, I asked him to sing a simple sentence of my devising:

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  • Edmund White

    A member of the American Academy of Arts and Letters, Edmund White is widely known for his essays and novels on gay and artistic life, as well as for his biographies of prominent writers. In 1993, he published Genet: A Biography, for which he won the National Book Critics Circle Award. White’s brief Atlas biography Rimbaud: The Double Life of a Rebel will be published October 9.

    RIMBAUD WAS a childhood hero of mine, and it was interesting to revisit him for this short biography. I found him less heroic as a person and maybe even more interesting as a writer. I think I wrote more about him as a

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    THE BOOK IS CALLED SABOTAGE for several reasons. I like that it is the same word in several languages, and that it is, like desire, a generic, overused nonword that almost works like an image but actually stands for something simple and raw. It is also what I’m doing in my own work, always sabotaging my own concepts and approaches, my own linear advancement, my own visual expectations.

    Sabotage is always a kind of violent change, the “sabot”—a wooden clog—thrown into the machinery, creating a new situation through disruption or destruction. It describes what happens in the book while

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  • Catherine Opie

    Catherine Opie first came to prominence with her “Portraits,” 1993–97, a series of photographs documenting members of queer communities in San Francisco and Los Angeles. Since then, Opie has worked with a wide range of subjects, photographing everything from Los Angeles freeways to communities of surfers in Malibu and ice fishers in Minneapolis. Her midcareer survey, “Catherine Opie: American Photographer,” is on view at the Guggenheim Museum in New York September 26, 2008–January 7, 2009.

    I MOVED FROM Virginia to San Francisco in 1982, where I came out as a lesbian. I can’t imagine a better time

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  • Tere O'Connor

    For over twenty-five years, New York–based choreographer Tere O’Connor has been actively agitating for a nonnarrative, philosophical, and exploratory approach to dance and dance-making. O’Connor is also known as a mentor in the community and a frequent curator of dance at venues such as the Kitchen and Dance Theater Workshop in Chelsea. Here he discusses his reprise of Rammed Earth (2007), which runs September 24–28 at the Baryshnikov Arts Center in New York.

    RAMMED EARTH is an iteration of my idea that there are elisions between dance and architecture. Coming to terms with a piece of architecture

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  • Gary Webb

    For the past decade, the London-based artist Gary Webb has developed a sculptural language conversant with the medium’s modern history and playfully experimental with its intrinsic characteristics: form, mass, color, and the relationship between constituent parts. His new exhibition, “Euro Bobber,” opens at Pilar Parra & Romero in Madrid on September 18 and runs through October 25.

    Unlike my exhibition earlier this year at the Approach in London, this show comprises mainly freestanding individual sculptures; there are no wall-size “split” mirrors that visually knit together the space. What I have

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  • Sara VanDerBeek

    Artist Sara VanDerBeek, who, with her brother, Johannes VanDerBeek, and Anya Kielar, owns Guild & Greyshkul gallery, is the daughter of experimental filmmaker and animator Stan VanDerBeek, who died in 1984. Guild & Greyshkul presents an exhibition of Stan VanDerBeek’s work from September 13 to October 18.

    THE PROCESS OF ORGANIZING our father’s estate and putting together this exhibition has been intensely emotional and very exciting for both Johannes and me. When he passed away in 1984, only a few months after an initial diagnosis of cancer, there were no instructions regarding how his artworks

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  • Nicole Eisenman

    During the past fifteen years, New York–based artist Nicole Eisenman has created a self-aware and psychologically probing body of work that includes installations, animations, drawings, and, with increasing focus, paintings. “Coping,” an exhibition of new paintings and monoprints, opens today at Galerie Barbara Weiss in Berlin and will remain on view until October 18.

    I made the paintings in this exhibition throughout the past year, gravitating, as I often do, to particular images (both found and imagined). I put them in drawings and then on canvas, initially working on one at a time and then on

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    ICH WILL! (I WANT!) sounds like a call to arms for a children’s revolution. In the context of Hitler’s Boy Scouts, it asserts expectations of an inheritance no previous generation of German youth had ever dared demand. The title of avant-garde filmmaker Kenneth Anger’s new work, which made its debut at the Donau Festival in Krems, Austria, this past spring, ICH WILL! appears superimposed on footage of a Hitlerjugend rally in Landsberg, Bavaria, in the late 1930s, and echoes the fiery letters heralding the demonic invocation in F. W. Murnau’s Faust (1926). The self-sacrificing pact between the

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  • Roger Hiorns

    British artist Roger Hiorns is known for deploying salt, industrial-strength disinfectants, and, most consistently, copper sulfate crystals in his sculptures. A solo exhibition of new work opens next week at Corvi-Mora in London. It is timed to coincide with Seizure, a new, large-scale installation commissioned by Artangel and presented at 151–189 Harper Road, London, September 3–November 2.

    WE DIDN'T HAVE ANY expectations for the site of Seizure when we began looking, and in fact we traversed every single borough of London in search of a suitable building to host the installation. It’s quite

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  • Sun Xun

    After studying printmaking at the China Academy of Fine Arts, Hangzhou-based artist Sun Xun started his own animation studio, Pi, in 2006. His work has been screened at numerous festivals, including the 2007 Torino Film Festival, and has been shown in exhibitions at the Astrup Fearnley Museum of Modern Art and at ShanghART, among other venues. For his first show at an American museum, he inhabited the Vault Gallery at the Hammer Museum in Los Angeles for over a week to develop the site-specific installation New China.

    APPARENTLY, THE ARCHITECTURE of the Vault Gallery was originally prepared to

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